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Philip Swan
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In the past I worked primarily with oil paint on canvas, but have recently devoted my attention to works on paper, especially watercolors. My watercolors consist of basic geometric shapes wherein bright colors representing the synthetic world are juxtaposed to darker more muted forms representing the natural one. Whether we are aware of it or not, the synthetic world does provide some degree of reassurance because it is a world created by human beings to control and adapt the world to our needs.
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It seems to be no coincidence that synthetic objects that are brightly colored and spotlessly clean are often what surround us at our most vulnerable moments in life, whether it be earliest childhood or senior care facilities.
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In both venues, objects are often in primary colors and primary shapes, they are objects without sharp edges, objects that are easy to handle, difficult to damage, and impossible to misuse in a way that would cause injury. The natural world is one of neutral and tertiary tones, it is a world that can be difficult to negotiate and often dangerous, where death and injury are always a possibility.
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I associate bright and simple geometric shapes with an artificial world of perceived safety, but by making them slightly biomorphic in my work, by making them spray or lactate, by putting them into configurations that suggest intestines or fetuses, I am suggesting that the synthetic world is continually undermined by the demands of nature as evidenced by the messy functions of our own bodies, bodily functions that cannot be completely channeled and are certainly not candy colored.
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